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Recently, a member of our staff received a question in regard to some of the observations made by Michael Bertiaux. According to a report given by Wikipedia, Michael Bertiaux is “an American occultist and Old Catholic Bishop, known for his book Voudon Gnostic Workbook (1988), a 615-page compendium of various occult lessons and research papers spanning the fields of VoodooNeo-PythagoreanismThelema and Gnosticism.” Bertiaux is also mentioned in many of the Typhonian works authored by the late Kenneth Grant.”

Bertiaux’s work is “dedicated to the practice of advanced techniques of Gnostic Voudon, a powerful system of Afro-Atlantean magic in its purest and most traditional form.” Since Beriaux’s work is focused on Gnostic Voudon, it differs from the Art of Ninzuwu, which focuses on Esoteric Shinto and Yi Jing Sorcery. However, the Voudon Gnostic Workbook makes some very interesting points about Shinto and the energies of the Kami that seem to overlap into some of the philosophy held in the Art of Ninzuwu. On page 611 of the Voudon Gnostic Workbook, we read:

“The Kami, or the Gods of the Shinto Religion, are the most powerful forces in the world. They are the purest and most ideal embodiments of natural forces and elemental power, as well as being the expressions of the divine intelligibility of all being. The religion of the future will be a form of Shinto, separated from its Japanese isolation and fused with many elementals from magick.”

Bertiaux’s comment, cited above, is very similar to what is mentioned in an Art of Ninzuwu text entitled, The Yi Jing Apocrypha of Genghis Khan. In the tome’s definition of Shinto, we read:

“Shinto is often described as the indigenous faith of the Japanese people. It is probably more correct to define Shinto as being the indigenous faith of the human race that has been preserved by the Japanese people.”

Here we can see in both the works of Michael Bertiaux and Warlock Asylum (Messiah’el Bey) that Shinto is said to be a spiritual system that will one day influence many nations. Today, the Art of Ninzuwu, a practice of Esoteric Shinto, enjoys a membership that includes people from all walks of life.

Another similarity that can be found in Bertiaux’s work and the workings of the Art of Ninzuwu is found understanding the Vasuh language. According to the introduction in The Ivory Tablets of the Crow, the Vasuh language is described as follows:

“The next tablet is entitled The Nine Books of Dreams, wherein nine glyphs of what is known as the Vasuh script are given. These characters represented “shadow chakras,” which allowed one to access a universe of dark matter when put into certain formula.“

The Vasuh script, also known as The Nine Books of Dreams, also corresponds to the nine stars of the Big Dipper, as noted in many of the Taoist workings. Another interesting feature of The Nine Books of Dreams is their connection to the Sun Goddess, Amaterasu Ohmikami, and her various stages. She is described in The Ivory Tablets of the Crow by her word of power, Johuta.  Reverences to the Nine Books of Dreams and its relation to the Sun can be seen in several passages appearing in the Ivory Tablets of the Crow:

“Few have been led down the Path of the Nine Dreams, for virtue is imperative in these worlds. The spirits show not their true faces to men, so they weep in horror. But for those who are pure in heart, there is beauty in these worlds. But the Path is difficult to find, and it is therefore necessary to call Shamuzi to guide you through the Dream of travel…. These operations must be sung in the light of the Goddess of the Sun. The Sun is a keeper of the records of men and sees all that occurs.  And these words must be committed to the memory of thy heart, but can be recited before, for Shamuzi is the spirit that gives the Sun its power.”

In another passage, concerning the Ninzuwu, we read:

“The Ninzuwu know well the Path of Dreams. During these days of Calling, the rays of the Sun will anoint thee.”

In the passages cited above, we see that the Vasuh letters, The Nine Books of Dreams, is connected with the Sun. In the Ivory Tablets introduction we read:

“The text begins with the tablet entitled, The Birth of the Crow, which is a personified-stellar epic that illustrates how our native star, the Sun, came into being. Strangely enough, the Cult of Nyarzir referred to our Sun as a goddess and in their initiatory rites used it as some sort of mirror that reflected the inner “crow” of the initiate. This seems to indicate that the Nyarzirians held intimacy not with the literal Sun in the sky, but a dark star that existed behind the literal Sun.”

The “Nine Dreams” work in relation to the Sun, perhaps a “dark star,” or an esoteric sun.  In the Voudon Gnostic Workbook we also see a similar structure,. Bertiaux writes:

“Like any other system of spiritual perfection or gnosis, the student will follow some kind of ritual life which allows for him to become more and more purified. The more that one is purified, as in other systems of gnosis, the closer one gets to the inner life of the Genius of IFA. However, the mode of purification in this system is most unique, it is a method of purification which involves the cleansing of the body— indeed all of the magickal bodies, by means of pure solar energy. The nine magickal bodies are made pure by exposure to the inner and purifying energy of the Esoteric Sun. As a consequence of this process of purification, we can see that the oracle will work for the person who is properly prepared to approach the Great Way.”

The Art of Ninzuwu’s Nine Books of Dreams, and its relationship to an esoteric sun, is quite similar to Bertiaux’s description of the work of the nine magickal bodies. There is another point of interest that both the Art of Ninzuwu and the Voudun Gnostic Workbook share, Bertiaux writes the following:

Many occultists and magi have made use of the divinatory properties and services of the I-Ching, but few if any widely known have made use of its megamathematicaimagick. Because every system of magick supposes a type of magickal mathematics,it is important to understand that our system supposes the algebra and magickal calculus which is to be found inside of the 1-Ching. I have shown in the papers of the MSR (Part I) the relationship between the magick of the I-Ching and Voudoo. Now it is important to see that as a part of the past, and because we are in the present, I am proposing a new exploration of the figures of the I-Ching.

When a magician works with the Book of Changes, it is important to understand that the figures which are given to the oracle, the 64 of them, also serve to inform him of what doorways are then open, at the moment of the oracle, leading into the inner planes. The way in which the figure or hexagram of the Book of Changes is formed reveals the particular type of doorway, through which dimension, tattwa, or inner-plane, the magician may move in order to meet with the beings, who can be approached in no other way. In other words, there are certain unique magickal beings with whom the magician can make contact in no other way save through the magickal algebra of the I-Ching.”

Bertiaux illustrates how the I Ching’s hexagrams can be used as a tool to reach certain “inner planes,” as in other dimensions. He then goes on to state the “beings” residing in these dimensions cannot be discovered through any other formula than by the use of certain mathematical equations found in  the I Ching.

Similarly, the Art of Ninzuwu’s Yi Jing Apocrypha of Genghis Khan is a text that discusses and illustrates the use of a certain mathematical formula, as found in the Vasuh characters appearing above the sixty-four hexagrams, which are to be employed by the advanced practitioner of the art of Ninzuwu. In the Introduction of the work, we read:

“The Sumerian deities had a way of employing the power of the Tablets of Destinies. In the same manner, the Yi Jing is not just a system of fates, but also sorcery. If there is an initiatory system of Ifa divination, it should be expected that one should exist for the I Ching as well. This is how the Yi Jing was used in the Cult of Nyarzir…. The Art of Ninzuwu is the art of Yi Jing magic and initiation. This is a rare path that requires virtue, sincerity and love for the art. The Yi Jing Apocrypha of Genghis Khan in not only a system of divination, but of initiation and magical practice.”

The Art of Ninzuwu encompasses a mystical system that employs and holds intercourse with the energies of the Yi Jing and the primordial forces of Shinto. In the Yi Jing Apocrypha of Genghis Khan, we read:

“Grants associates Tiamat with the deities of Japan, which would mean that these were the original holders of the Tablets of Destinies or Yi Jing.”

Bertiaux writes about a similar connection between the I Ching and the primal forces of Shinto spirituality. In the Voudun Gnostic Workbook we read:

“I have been able to find that the metaphysics of Shin provides a very excellent format for this type of research. Shin to (the Tao of the Shin or Kami) or Shinto operates under the principle of radical syzygy. This means that the energies are given in esoteric pairings. Each day these energies change and I suspect that they change at every moment, as the Book of the I-Ching demonstrates. However, even though there is change and flow with these energies, there exists a certain and identifiable pattern, amidst all of the changes and diffusions of power.”

Perhaps one of the most fascinating “coincidences” occurring between Bertiaux’s system and the Art of Ninzuwu has a lot to do with the “goddess” of the Ninzuwu Mysteries. In another Art of Ninzuwu text, entitled, The Armor of Amaterasu, we read:

“During the initiation, as given in the Ivory Tablets of the Crow, the candidate passes through the “nine dreams” and unknowingly obtains use of the “tide jewels.” The Bride of Nyarzir is Amaterasu Ohkami.”

Here we see that the Bride of Nyarzir is Amatereasu Ohkami. The term “Bride of Nyarzir” first appears in The Ivory Tablets of the Crow:

“And the Bride of Nyarzir has the body of a beautiful woman wearing a white dress without legs. The head is that of four faces. The face of the North appears a Woman of Age and is made of Lapis Lazuli. The Face of the East is that of a Virgin and is made of Diamonds. The Face of the South is that of a Child and is made of the finest Gold. The Face of the West is that of a Mother and is made of Onyx.

The Bride speaks with four voices of different ages and these are always in unison, as she flies as the birds of heaven with wings of an Owl.

Now the Nyarzir is a world with Three Suns and a Green Sky. Every structure is made out of a precious jewel and the roads of the cities are as fine metals. And these cities all stand around the Shining Trapezohedron upon which the Bride of Nyarzir sits upon her Throne.

Nyarzir is a place of instruction for all sorts of miraculous things, and many workers of the mystical arts do often visit and pay tribute to the Bride of Nyarzir for she will teach thee many things in Dreams and the world where the body must breathe.”

The Bride of Nyarzir is the mother of all who practice the Art of Ninzuwu. Since the Bride of Nyarzir is Amaterasu Ohkami, as described in the text cited earlier, we can also say that Amaterasu Ohkami is the Divine Mother of all who practice the Art of Ninzuwu.

The symbolism behind the Bride of Nyarzir and its connection to Amaterasu Ohkami is discussed in detail in the Armor of Amaterasu Ohkami. These thoughts are also found in Michael Bertiaux’s Voudun Gnostic Workbook:

“All references to golden light and to golden substances bring our minds to the place of the Sun in this system of metaphysics. It is here that the Master wishes to introduce the concept of the Sun-Goddess, the Center of the Solar Cuitus. In Japanese Shinto, this notion is very important because the human race is derived from the Sun, and is continually dependent upon the power of the Sun for life. The Shinto Goddess of the Sun is Amaterasu-Omikami, and in Zothyrian theology, Her name is Ameratsu-Omni-Kami.

In either system, however, She is the focus of power. One might also remark that the Sanctuary Teachings of Master M.A. are actually the gnostic reformulation of the old principles of Esoteric Shinto for the modern world and the contemporary spiritual need. The Power of the Goddess of the Sun comes to the golden temple by means of a magickal induction. The Master M.A. sends to the temple a continuous radiation of Her divine Presence. She is present in the temple at all times, especially in the innermost shrine, which is Her Residence. The work of the Master M.A. is to transmute the energies of the metaphysical Sun into powers which can be used by human beings striving for the most perfect state of attainment. The purpose of this diffusion is, of course, the evolution of all beings towards the Mother Goddess of the Sun. Here is a powerful invocation to the Goddess, which can be used each morning:

“I call upon you 0 My Divine Mother, the Goddess of the Sun, asking your protection and power to be with me at every moment of this day. I adore your presence in the light of the solar disc, I worship You in the divine Sun within my heart. When I say I am a son (daughter) of the Sun, I call upon You at all times. I adore your light, which is filling all space. I see You before me in the heavenly symbol. You are My Divine Mother, Ameratsu-Omni-Kami.”

The worship of the magickal and metaphysical powers of the Sun is a very high form of the most ancient gnosis. The most ancient religions have always acknowledged the powers of the Sun. The solar cuitus is the beginning of human spirituality. The purpose of the sanctuary teachings is to bring about spiritual renewal and transformation. The Master M.A., who is the master of the rays, is the messenger of the Sun goddess and the gnostic awakening. By making use of the prayers, meditations, and rituals which you will be taught, you will awaken yourself to the divine power present in experience. The physical Sun is the symbol of the divine Sun, with each thought try to bring yourself closer and closer to the Mother Goddess.”

Interestingly, there is one last similarity we will consider in terms of how Michael Bertiaux’s work relates to the Esoteric Shinto workings of the Art of Ninzuwu.  The Land of Nyarzir is described in the Ivory Tablets of the Crow as follows:

“Now the Nyarzir is a world with Three Suns and a Green Sky. Every structure is made out of a precious jewel and the roads of the cities are as fine metals. And these cities all stand around the Shining Trapezohedron upon which the Bride of Nyarzir sits upon her Throne.

Nyarzir is a place of instruction for all sorts of miraculous things, and many workers of the mystical arts do often visit and pay tribute to the Bride of Nyarzir for she will teach thee many things in Dreams and the world where the body must breathe.”

The symbolism behind the Land of Nyarzir is clarified in the Yi Jing Apocrypha of Genghis Khan:

“They are surrounded by the mystical lands of the Lewhu, also known as Iewhu. The Lands of Lewhu are eight in number with a specific formula for each. This is the Jade Elixir. Lewhu is the eighth letter in the Vasuh language, as it represents the eight paths leading to the sixty-four cities of Nyarzir. Know that Lewhu is Nyarzir. It is written in the Ivory Tablets of the Crow, concerning Lewhu:

“It is the eighth letter in the language of Vasuh. It is used in initiating one to the divine energies of the stars. ”

Remember that during the time of initiation, Lewhu is the Gate that resides over the sexual organs and the energies thereof. Do not miscalculate the Gate of Lewhu with lust, but know that this form of sexual energy radiates from the stars, emissaries of the creator are what gods are. The Food of the Crow is nourishment for the Soul.  When I visited the Magicians of the West, the Workers of Mankind, being men themselves, they would often say marvelous things about the Tree of Life, which is armed with thirty-two roads. Yet, the land of Nyarzir has eight cities and sixty-four roads, and the number of the Ninzuwu will always be twice this amount for the Magicians of Nyarzir speak in a language known in the other universe, a tongue beyond the worlds of darkness and light. The Tongue of the Ninzuwu is the spark by which the Yi Jing moves and can be employed.”

This Bride of Nyarzir (Amaterasu Ohkami) is described as having “four faces,” which is explained deeply in the Armor of Amaterasu Ohkami text. Yet, the “four-faced” bride seems to relate to the “four worlds” appearing in the Voudun Gnostic Workbook:

“These are the 64 interpretations which correspond to the figures of the I-Ching. In other words, with each interpretation is projected into one of the four “worlds” one of the 16 basic axioms. The logic of this system seems to hold that there are only four kinds of things in each realm or logical universe.”

There are many other similarities between the paradigm presented by Michael Bertiaux and Warlock Asylum, but also the legendary Kenneth Grant. Interestingly, all three of these writers are popularly considered the most-prolific investigators of the Necronomicon Mysteries. In the book, Outer Gateways, Kenneth Grant associates Tiamat with the Kami:

“Tiamat will once more rule the Earth”. Her other number, 71, is the number of Lam, and of the Kami, a name bestowed in ancient Japan upon the Old Ones whom the Egyptians named the Sami.”

Grants associates Tiamat with the Kami, which in the Necronomicon Mysteries relates to the Ancient Ones. It should be of any surprise that we find in the Nihongi, a book of Japanese history from times of remote antiquity, mention of the Ancient One in several passages. Shiho-tsutsu-no-Oji is described as the “Ancient of the Sea” in W. G. Aston’s translation.  In Hecate’s Fountain, Grant describes a an ancient Asian cult of remarkable influence:

“In the ancient cult of the ku there are unmistakable signs of intercourse occurring in remote parts of China and Central Asia between extraterrestrials and Adepts of the Vajrayana, or Cult of the Thunder-dragon. That Crowley had magical affinities with such a Cult is evidenced by his curious relationship with Lam, the mysterious Lama of Leng…”

We find, not only in the works of Michael Bertiaux and Warlock Asylum a history of a primordial magical tradition, existing in Asia, but also in the works of Kenneth Grant. Grant also discusses the magical correspondences of certain hexagrams of the I Ching in his book, Cults of the Shadow. Why is it of then that such a deep investigation of the Necronomicon mysteries leads to the discovery of an ancient spiritual paradigm existing in Asia? The answer may lie in the origin of the Vasuh language itself.

The Armor of Amaterasu Ohkami by Warlock Asylum discusses the origin of the Vasuh Language in depth. According to this text, the Vasuh originates from the legendary civilization of Mu:

We can find answers as to how all of this relates to the Vasuh language and its origin by investigating something that is said in another Ninzuwu text entitled the Yi Jing Apocrypha of Genghis Khan. In the book’s introduction it states:

“Surprisingly, the Art of Ninzuwu didn’t originate in ancient Mesopotamia, but in Asia. According to a certain history held by secret societies that practiced the Art of Ninzuwu. The Cult of Nyarzir began in the days of the legendary empire known as Mu. According to the history of Nyarzir, this was an empire that stretched from the Pacific Ocean and into the regions of what is known today as ancient Mesopotamia. Later, after the time of the deluge, the Empire of Mu fell and its residents divided themselves up into nations. It is also said in these oral traditions of the Ninzuwu that the Yi Jing was formulated during the time that this empire flourished.”

According to the Yi Jing Apocrypha of Genghis Khan, the Art of Ninzuwu originated in Asia. This would also mean the same for its language. In a book entitled, The Lost Continent of Mu, by James Churchward, we find the authors account of how he came to know of a secret knowledge and language that at one time ruled Asia:

“For more than two years I studied diligently a dead language my priestly friend believed to be the original tongue of mankind. He informed me that this language was understood by only two other high priests in India. A great difficulty arose from the fact that many of the apparently simple inscriptions had hidden meanings which had been designed especially for the Holy Brothers— the Naacals a priestly brotherhood sent from the motherland to the colonies to teach the sacred writings, religion and the sciences… In discussing these secret writings he added something that sent my curiosity up to a new high point. He had already mentioned the legendary Motherland of Man— the mysterious land of Mu. Now he amazed me by the admission that the precious tablets were believed by many to have been written by the Naacals,”

According to the teaching of the Art of Ninzuwu, there existed a world order that was controled by the Ninzuwu, what many scholars call the Naacals, and later the Nagas. In the book Sacred Symbols of Mu, by James Churchward, we read:

They tell us that a body of trained masters from Mu, called Naacals, were carrying to her various colonies and colonial empires copies of the Motherland’s Sacred Inspired Religion. These Naacals formed in each country colleges for the teaching of the priestcraft religion, and the sciences. The priesthoods that were formed in these colleges in turn taught the people. There is a very interesting ancient writing about the Chaldis, as the colleges were called in Babylonia. It says: “Everyone was welcome, be he prince or slave. Directly they passed into the temple, they were equal, for they stood in the presence of the Heavenly Father, the Father of them all, and here they became brothers in fact. No payment was charged; all was free….. “The school of the ancient gynosophists was still subsisting in the great city of Benares on the banks of the Ganges. There the Brahmins cultivated the Sacred Language which they called Hanferit, and look upon it as the most ancient of all languages. [The Naacal writings are in what is here called Hanferit.]

“They admit of Genii, like the primitive Persians. They tell their disciples that symbols are made only to fix the attention of the people and are different emblems of the Deity. But as this sound theology would turn to no profit, they concealed it from the people. [And taught what produced superstitious awe and fear.]”

Other teachings of Ninzuwu suggest that the feud between Amaterasu Ohkami and Susanoo-no-Mikoto are symbolic of a literal dispute between two different factions existing in the same Empire of Mu. Susanoo, according to the work of W. G. Aston, translator of the Nihongi, means “man of Susa.” Some scholars have tried to assert that this was in reference to an ancient Japanese place named Susa. However, it seems more probable that Susa represents the famous Mesopotamian city, often associated with Elam. This is fully discussed in The Yi Jing Apocrypha of Genghis Khan.

While we respect Michael Bertiaux’s The Voudon Gnostic Workbook, we do understand that such information in the text is primarily centered on a particular paradigm that only Michael Bertiaux and his membership can clearly explain. What we can say, however, is that Bertiaux statement about Shinto illustrates an agreed upon principle that is deeply expounded upon in the Art of Ninzuwu teachings. It is an understanding that the epic of Amaterasu Ohkami’s return from the rock-cave, signifies not only a solar phenomena, but the return of a certain form of consciousness.

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Occult Master Micheal Bertiaux on Count Dante from Floyd Webb on Vimeo.

Join the conversation! 2 Comments

  1. Very illuminating! This is a great article! Thank you for sharing! 🙂


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Amaterasu-Omikami, Art of Ninzuwu, books, Cult of Nyarzir, Cults of the Shadow, Elam, I Ching, Ivory Tablets of the Crow, James Churchward, Japanese Mythology, Johuta, Kami, Kenneth Grant, magician, Michael Bertiaux, Naacals, Nagas, Nihon Shoki, Nihongi, Ninzuwu, occult books, Outer Gateways, Religion, Sect Shinto Groups, Shinto, Shrine of Ninzuwu, Spiritual, The Armor of Amaterasu Ohkami, Uncategorized, Voudon Gnostic Workbook, Yi Jing Apocrypha of Genghis Khan